A film by Jessica Krummacher. In German with English subtitles.

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When the film beg­ins, it is all over. “We know it’s ter­mi­nal, and that’s all”, says Juliane of her mother Kerstin, who is in gre­at pain and about to die aged just 64. Although the young doc­tor she con­sults ack­now­led­ges on a per­so­nal level that ever­yo­ne has the right to mana­ge their own death, he none­thel­ess reminds her that eutha­na­sia is still ille­gal in Germany. This is even more the case at the Catholic hospi­ce whe­re Kerstin is stay­ing. As rela­ti­ves come to say good­bye to her mother and the emo­ti­ons of memo­ries ming­le with the anti­ci­pa­ti­on of grief, Juliane finds hers­elf having to do batt­le with time – unben­ding, apa­the­tic and mono­chro­me – and this is super­b­ly reflec­ted in the con­vul­si­ons of the hand­held came­ra in wide shots.
Based on per­so­nal expe­ri­ence, Jessica Krummacher’s second fea­ture film vivid­ly rela­tes the pain­ful sto­ry of losing a parent. There is no vio­lence or mor­bi­di­ty, rather the direc­tor descri­bes the most important of events via the smal­lest, most fra­gi­le of details – the exchan­ging of words, texts and ten­der ges­tu­res that remain with us and get under our skin.

Credits:

DE 2022, 135 Min., OmenglU,
Buch & Regie: Jessica Krummacher
Kamera: Gerald Kerkletz,
Schnitt: Anne Fabini,
mit: Birte Schnöink, Elsie de Brauw, Christian Löber, Gina Haller, Nicole Johannhanwahr, Thomas Wehling, Susanne Bredehöft u. a.

Trailer:

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a Film by Jöns Jönsson. In German with English subtitles. 

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Julius is an elo­quent young muse­um atten­dant loved by his fri­ends, col­le­agues and his girl­fri­end. One day he invi­tes his fel­low workers to join him for a sai­ling trip on his aris­to­cra­tic family’s boat. But some­thing goes wrong. Julius is not who he seems to be.
Moritz von Treuenfels is the per­fect choice to embo­dy this char­ming young man whom we glad­ly fol­low at first, only to feel less and less com­for­ta­ble with the con­tra­dic­tions that ari­se from his flu­id approach to life. In this fine­ly writ­ten and direc­ted film about iden­ti­ty and social beha­viour, Jöns Jönsson pushes the idea of “fake it till you make it” to its brea­king point. Julius impres­ses ever­yo­ne with his world­ly know­ledge and free-flowing con­ver­sa­ti­on embo­dy­ing modern ide­als of self-reinven­ti­on. Yet his beha­viou­ral pat­terns are in con­flict with the rules of socie­ty. Unfolding with a fle­xi­bi­li­ty that echo­es that of the prot­ago­nist, Axiom is a fasci­na­ting explo­ra­ti­on of this dis­quie­ting con­tra­dic­tion that is both vis­ce­ral and intellec­tual­ly dizzying.

Credits:

DE 2021, 113 Min.,
Regie & Buch: Jöns Jönsson
Kamera: Johannes Louis
Schnitt: Stefan Oliveira-Pita
mit: Moritz von Treuenfels, Ricarda Seifried, Thomas Schubert, Zejhun Demirov, Sebastian Klein, Leo Meier, Ines Marie Westernströer

Trailer:

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a Film by Bruno Dumont. In French with German subtitles. 

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Full of absurd humour, Bruno Dumont’s new film shows how quick­ly one can fall into the abyss – and re-emer­ge stron­ger. Paris: star jour­na­list France de Meurs (Léa Seydoux) has her hands full as a talk­show host, war repor­ter, mother and wife. After a car acci­dent in which she inju­res a scoo­ter dri­ver, her well-orde­red world gets out of con­trol. France fights the down­ward spi­ral, yet ends up losing almost ever­y­thing. But France de Meurs isn’t France de Meurs for not­hing. She starts again from squa­re one – this time with a healt­hy por­ti­on of iro­ny and a twink­le in he eye.

Credits:

FR 2021, 133 Min., frz. OmU
Regie: Bruno Dumont
Mit: Léa Seydoux, Blanche Garin, Benjamin Biolay, Emanuele Arioli, Gaëtan Amiel, Juliane Köhler, Jawad Zemar

Trailer:

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A film by James Benning. In English.

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James Benning’s first film cal­led The United States of America was a 1975 trip across the coun­try, cap­tu­ring its sce­n­ery through a car winds­hield. This second one also cris­scros­ses the nati­on, but wit­hout a car, car­ving it up ins­tead into a series of sta­tic shots of just under two minu­tes, one for each sta­te, pre­sen­ted alpha­be­ti­cal­ly, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are non­de­script, but the images atta­ched to them are any­thing but, imma­cu­l­ate­ly com­po­sed shots of land­scape, city­scape and the spaces in bet­ween. As we move from A to Z, the images coale­s­ce into a por­trait of today’s USA, tra­cing out its fault lines almost in pas­sing: fen­ced-off faci­li­ties, a river bed run­ning dry, fac­to­ries and refi­ne­ries, run-down streets and gas sta­ti­ons, a camp under a bridge. The past is the­re too, see­ping up through the songs and spee­ches that spo­ra­di­cal­ly pier­ce the back­ground noi­se or the motifs that evo­ke a who­le care­er; the clouds, trains and cab­ins are stand-ins for films, not just sta­tes. As always, there’s time for more abs­tract thoughts too: each image may stand for a sta­te, but repre­sen­ta­ti­vi­ty is slip­pery. Which sta­te is more cine­ma­tic than the rest?

Credits:

USA 2022, 98 Min., eng­li­sche OmU
Regie: James Benning

Trailer:

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A film by Heidi Specogna. In Amharic with German subtitles.

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Nardos, an Azmari sin­ger from Addis Ababa, dreams of tel­ling sto­ries about the lives of ordi­na­ry peo­p­le through her music. In her search of sto­ries for her songs, she meets Gennet, a poet who lives on the streets with her child­ren. As Nardos puts the lives of Ethiopian women, their visi­ons and power at the cent­re of her crea­ti­on, we dive deeper and deeper into a rapidly chan­ging country.

Credits:

DE/CH 2021, 110 Min., amha­rische OmU
Regie: Heidi Specogna
Kamera: Johann Feindt
Schnitt: Kaya Inan

Trailer:

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a film by Joachim Trier. In Norwegian with German subtitles.

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Julie is almost 30 and has no idea what kind of life she wants to lead. Overwhelmed by all the pos­si­bi­li­ties, she keeps chan­ging her mind. She drops out of medi­cal school to try her hand at psy­cho­lo­gy – or may­be pho­to­gra­phy. Her con­fi­dent 44-year-old boy­fri­end, Aksel, a long-estab­lished comic book aut­hor, has always wan­ted them to have a child tog­e­ther, but Julie just isn’t rea­dy. When she meets the young and ener­ge­tic Eivind at a par­ty one day, her life faces ano­ther tur­ning point. Director Joachim Trier pres­ents a zeit­geist come­dy about the Millennial gene­ra­ti­on and the dif­fi­cul­ty of making small and big decis­i­ons. A bit­ters­weet film that con­ju­res up both exhi­la­ra­ting and melan­cho­lic moments of truth on the big screen.

Credits:

VERDENS VERSTE MENNESKE
NO 2021, 128 Min., norw. OmU
Regie: Joachim Trier
Kamera: Kasper Tuxen
Schnitt: Olivier Bugge Coutté
Mit: Renate Reinsve, Anders Danielsen Lie, Herbert Nordrum

Trailer:

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a film by Nicolette Krebitz. In German with English subtitles.

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Anna is 60 and her acting heyday is now behind her. She lives on her own but has a fri­end and con­fi­dant in her down­s­tairs neigh­bour Michel, who is also sin­gle. Reluctantly, Anna accepts a job as a lan­guage coach for 17-year-old Adrian who has a speech impe­di­ment and is some­thing of a mis­fit. She reco­g­ni­s­es him as the boy who recent­ly snat­ched her hand­bag in the street …
“Irresistible” is the term that springs to mind when describ­ing this light-foo­ted and humo­rous sto­ry of an impos­si­ble love affair bet­ween a thief and a lady. Director Nicolette Krebitz hand­les the fra­gi­le balan­ce bet­ween the dic­ta­tes of socie­ty and the heart with gre­at care. The fresh breath of free­dom blows through a nar­ra­ti­ve that makes room for a nod to old West Berlin, some gent­le teasing of Germany’s French neigh­bours, and even a ghost that is cha­sed away to make way for new pos­si­bi­li­ties. But most of all, A E I O U is a pas­sio­na­te love let­ter to Sophie Rois and, per­haps through her, all the bril­li­ant actors negle­c­ted by an indus­try all too fond of young blood. Well, it turns out that the­se young play­ers, embo­di­ed here by new­co­mer Milan Herms, not only look up to their more expe­ri­en­ced peers, they tru­ly love them.

Credits:

DE/FR 2022, 104 Min., dt.OmeU
Regie: Nicolette Krebitz
Kamera: Reinhold Vorschneider
Schnitt: Bettina Böhler
mit: Sophie Rois, Udo Kier, Milan Herms, Nicolas Bridet

Trailer:

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a film by Majid Majidi. In Farsi with German subtitles. 

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SUN CHILDREN is the sto­ry of 12-year-old ALI and his three fri­ends. Together they work hard to sur­vi­ve and sup­port their fami­lies, doing small jobs in a gara­ge and com­mit­ting pet­ty cri­mes to make fast money. In a turn of events that seems mira­cu­lous, Ali is ent­rus­ted to find a hid­den tre­asu­re under­ground. He recruits his gang, but first, to gain access to the tun­nel, the child­ren must enroll at the Sun School, a cha­ri­ta­ble insti­tu­ti­on that tri­es to edu­ca­te street kids and child labo­rers, clo­se to whe­re the tre­asu­re is located.

Credits:

Khōrshīd
Iran 2020, 99 Min., far­si OmU
Regie: Majid Majidi
Drehbuch: Majid Majidi, Nima Javidi
Darsteller: Rouhollah Zamani, Ali Nasirian, Javad Ezzati, Tannaz Tabatabaie
Kamera: Hooman Behmanesh

Trailer:

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Sorry, this ent­ry is only available in Deutsch.

Das Filmfestival Achtung Berlin!, bei dem wir mitt­ler­wei­le zum vier­ten Mal Spielort sind, prä­sen­tiert zwar Produktionen aus Berlin, ist aber nicht an den Ort gebun­den.
Wir begin­nen unse­re Auswahl z.B. auf Usedom, und sehen in ZWISCHENSAISON [Tickets] mit Regisseurin Tina Tripp vier Auszubildenden im Gastgewerbe, zwei Köchen, zwei Servicekräften, bis zur Prüfung über die Schultern. DE 2022, 105 Min., So. 24.4. 18:30
Dann kom­men wir nach Berlin, wo in Florian Hoffmanns Debut-Spielfilm STILLE POST [Tickets] ein Paar ver­zwei­felt ver­sucht, media­le Aufmerksamkeit für die Situation der Kurden in der Türkei und den Krieg gegen sie zu erlan­gen. DE 2021, 94 Min., So. 24.4. 21:00
Ein paar Schritte zurück, und wir sind in einem Bulgarischen Bergdorf. Hier por­trä­tiert Eliza Petkova in MAYOR, SHEPHERD, WIDOW, DRAGON [Tickets] eini­ge der noch ver­blie­be­nen Bewohner, außer­dem gibt es hier auch noch einen Drachen. DE BG 2020, 97 Min., Mo. 25.4. 18:30
Weiter west­lich in Wien bekommt die jun­ge und talen­tier­te fast-Architektin Eva einen begehr­ten Job bei einem Star-Architekten. In RISSE IM FUNDAMENT (Foto oben) [Tickets] erzäh­len Genia Leis und Gerald Sommerauer von ganz all­täg­li­chen Machtspielen und Zuschreibungen, zu denen Eva Position bezie­hen muss. DE 2022, 84 Min., Mo. 25.4. 21:00
In VOR ZEIT [Tickets] macht sich ein alter-Ego von Regisseurin Juliane Henrich in Polen auf die Suche nach Spuren der Vergangenheit und fin­det Hinweise auf Migrations- und Fluchtbewegungen, die auf die Gegenwart zie­len. DE 2021, 80 Min., Di. 26.4. 18:30
Rebeca Ofeks Spielfilm JESSY [Tickets] beruht auf einer eige­nen Erfahrung. Die 13-jäh­ri­ge Jessica lebt allein mit ihrer Mutter in Berlin, als ihr Vater nach 7 Jahren aus dem Knast zurück nach Hause kommt und nichts mehr ist, wie es war. DE 2021 79 Min., Di. 26.4. 21:00
Am Modell sei­ner ehe­ma­li­gen Schule in Brandenburg und der eige­nen Biografie zeigt Christian Bäucker in HEIMATKUNDE [Tickets] ein dif­fe­ren­zier­tes Bild des DDR-Schulsystems und spürt dem Einfluss ost­deut­scher Schulerziehung auf Schülerinnen und Schüler nach.
DE 2021, 89 Min., Mi. 27.4. 18:30
Das Anwerbeabkommen mit der Türkei 1961 brach­te mit den Menschen auch ihre Kultur nach Deutschland. Die Musik war die Verbindung zur „alten“ Heimat, die sich hier im Exil zu neu­en Formen und Verbindungen fand. Cem Kayas Dokumentarfilmessay LIEBE, D‑MARK UND TOD [Tickets], den wir zum Abschluss zei­gen, ist eine Nachhilfestunde in tür­kisch-deut­scher Zeitgeschichte. DE 2022, 96 Min., Mi. 27.4. 21:00
(Bitte beach­ten Sie die Epilepsiewarnung für die­sen Film!)

a film by Neus Ballús. In Spanish and Katalan with German subtitles.

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To get through his one-week pro­ba­tio­na­ry con­tract, a young Moroccan plum­ber must deal with equal­ly eccen­tric col­le­agues and cus­to­mers. Valero, his supe­ri­or, doubts Moha has what it takes, or that cus­to­mers will accept a Moroccan worker. Maybe six days is not enough time for someone to over­co­me their pre­ju­di­ces. But it might be enough to dis­co­ver that we must live together.

My father is a plum­ber. I have heard all kinds of weird sto­ries about his job. Over the years, I have been struck by the pre­ju­di­ces and com­ple­xi­ties the­se dai­ly-life situa­tions revealed.

Credits:

Sis dies cor­rents
ES, FR 2021, 85 Min., span, kata­lan., ber­ber OmU
Regie: Neus Ballús
Kamera: Anna Molins
Schnitt: Neus Ballús, Ariadna Ribas
mit: Mohamed Mellali, Valero Escolar, Pep
Sarrà, Paqui Becerra, Pere Codorniu

Trailer:

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